Moved by the Aboriginal understandings of songlines or dreaming tracks, Norie Neumark'sVoicetracksseeks to deepen an understanding of voice through listening to a variety of voicing/sound/voice ...projects from Australia, Europe and the United States. Not content with the often dry tone of academic writing, the author engages a "wayfaring" process that brings together theories of sound, animal, and posthumanist studies in order to change the ways we think about and act with the assemblages of living creatures, things, places, and histories around us.Neumark evokes both the literal -- the actual voices within the works she examines -- and the metaphorical -- in a new materialist exploration of voice encompassing human, animal, thing, and assemblages. She engages with artists working with animal sounds and voices; voices of place, placed voices in installation works; voices of technology; and "unvoicing," disturbances in the image/voice relationship and in the idea of what voice is. She writes about remixes, the Barbie Liberation Organisation, and breath in Beijing, about cat videos, speaking fences in Australia, and an artist who reads (to) the birds. Finally, she considers ethics and politics, and describes how her own work has shaped her understandings and apprehensions of voice.
Culture movement in society has a linear relationship with the development of the art. To face the demands of the times, the artists start to integrate the arts with other disciplines in the process ...of the creation of works of art considered to be more able to accommodate the expression and the communication is conveyed in a work of art. This is known as new media art. New media art which is the result of undue hybridisation between pure art with technology capable of growing very rapidly. This development extends to all regions in Indonesia. In Pekanbaru, new media art was getting very enthusiasm of the pop art from a variety of backgrounds and ages, but it is unfortunate development is still lacking. This problem can be seen from the lack of facilities or container that can overshadow and accommodate creativity and introduce the work of new media art. Based on these problems, it needed a container that can overshadow the pop art new media as well as introduce new media art to the community, therefore drafted a center for creativity of new media art which can facilitate the activities in the field of new media art whether in the form of the process of creation of works of new media art and activities pertujukkan Design Creativity Center New Media Art is applying the principles of the Architecture of Deconstruction which has the meaning of freedom of the rhetorical structures of composition that is formal. The freedom of form that is a representation of the way of thinking the architecture of the deconstruction that do not want to be bound from the rules that have been there to interpret the freedom of the air-creativity, innovative and always fresh in the new media art. So in the hope Center for the arts creative media this can bring out the creativity of the artist through the architectural elements dekontruktif.
A new philosophy of movement that explores the active relation between sensation and thought through the prisms of dance, cinema, art, and new media.
With Relationscapes, Erin Manning offers a new ...philosophy of movement challenging the idea that movement is simple displacement in space, knowable only in terms of the actual. Exploring the relation between sensation and thought through the prisms of dance, cinema, art, and new media, Manning argues for the intensity of movement. From this idea of intensity—the incipiency at the heart of movement—Manning develops the concept of preacceleration, which makes palpable how movement creates relational intervals out of which displacements take form.
Discussing her theory of incipient movement in terms of dance and relational movement, Manning describes choreographic practices that work to develop with a body in movement rather than simply stabilizing that body into patterns of displacement. She examines the movement-images of Leni Riefenstahl, Étienne-Jules Marey, and Norman McLaren (drawing on Bergson's idea of duration), and explores the dot-paintings of contemporary Australian Aboriginal artists. Turning to language, Manning proposes a theory of prearticulation claiming that language's affective force depends on a concept of thought in motion.
Relationscapes takes a “Whiteheadian perspective,” recognizing Whitehead's importance and his influence on process philosophers of the late twentieth century—Deleuze and Guattari in particular. It will be of special interest to scholars in new media, philosophy, dance studies, film theory, and art history.
Today almost every aspect of life for which data exists can be rendered as a network. Financial data, social networks, biological ecologies: all are visualized in links and nodes, lines connecting ...dots. A network visualization of a corporate infrastructure could look remarkably similar to that of a terrorist organization. In An Aesthesia of Networks , Anna Munster argues that this uniformity has flattened our experience of networks as active and relational processes and assemblages. She counters the "network anaesthesia" that results from this pervasive mimesis by reinserting the question of experience, or aesthesia, into networked culture and aesthetics. Rather than asking how humans experience computers and networks, Munster asks how networks experience -- what operations they perform and undergo to change and produce new forms of experience. Drawing on William James's radical empiricism, she asserts that networked experience is assembled first and foremost through relations, which make up its most immediately sensed and perceived aspect. Munster critically considers a range of contemporary artistic and cultural practices that engage with network technologies and techniques, including databases and data mining, the domination of search in online activity, and the proliferation of viral media through YouTube. These practices -- from artists who "undermine" data to musicians and VJs who use intranetworked audio and video software environments -- are concerned with the relationality at the core of today's network experience.
The essay aims to propose the diagrammatic structure of the megadungeon as a metaphor to represent the complexity, interconnectedness, and multi-layered nature of the current media scenario, ...including its active branches such as new media art and Digital Humanities. The reference is drawn from the concept of the dungeon, which has been successfully introduced into the realm of role-playing games since the 1970s. Conventionally, a dungeon refers to a complex, multi-level maze of corridors, tunnels, rooms, and hidden chambers. The nature of dungeons is to be theoretically infinite floor plans that game designers have learned to produce algorithmically: when they cross a certain size threshold, they are known as megadungeons. In this article, I propose the megadungeon as a productive topological model that intersects different sociotechnical aspects of digital media, drawing on shared characteristics such as a layered structure, labyrinthine exploration, game-derived grammar, and an affinity with computational domain. Additionally, the essay proposes comparisons with similar representation models that challenge outdated cartographic metaphors and addresses specific connections between new media and the concepts of verticality and stratification
The nascent field of what has come to be known as “creative AI” consists of a range of activities at the intersections of new media arts, human-computer interaction, and artificial intelligence. This ...article provides an overview of recent projects that emphasise the use of machine learning algorithms as a means to identify, replicate, and modify features in existing media, to facilitate new multimodal mappings between user inputs and media outputs, to push the boundaries of generative art experiences, and to critically investigate the role of feature detection and pattern identification technologies in contemporary life. Despite the proliferation of such projects, recent advances in applied machine learning have not yet been incorporated into or interrogated by creative AI projects, and this article also highlights opportunities for computational artists working in this area. The article concludes by envisioning how creative AI practice could include delineating the boundaries of what can and cannot be learned by extracting features from artefacts and experiences, exploring how new forms of interpretation can be encoded into neural networks, and articulating how the interaction of multiple machine learning algorithms can be used to generate new insight into the intertwining sociotechnical systems that encompass our lives.
In Media Primitivism Delinda Collier provides a sweeping new understanding of technological media in African art, rethinking the assumptions that have conceptualized African art as unmediated, ...primary, and natural. Collier responds to these preoccupations by exploring African artworks that challenge these narratives. From one of the first works of electronic music, Halim El-Dabh’s Ta’abir Al-Zaar (1944), and Souleymane Cissé's 1987 film, Yeelen, to contemporary digital art, Collier argues that African media must be understood in relation to other modes of transfer and transmutation that have significant colonial and postcolonial histories, such as extractive mining and electricity. Collier reorients modern African art within a larger constellation of philosophies of aesthetics and technology, demonstrating how pivotal artworks transcend the distinctions between the constructed and the elemental, thereby expanding ideas about mediation and about what African art can do.
Seeing new media art as an entry point for better
understanding of technology and worldmaking futures In
this challenging work, a leading authority on new media art
examines that curatorial and ...aesthetic landscape to explore how art
resists and rewires the political and economic structures that
govern technology. How do inventive combinations of artistic and
theoretical improvisation counter the extent to which media art
remains at risk, not just from the quarantines of a global pandemic
but also from the very viral and material conditions of technology?
How does global media art speak back to the corporate closures of
digital euphoria as clothed in strategies of digital surveillance,
ecological deprivation, and planned obsolescence? In Technics
Improvised , Timothy Murray asks these questions and more.
At the intersection of global media art, curatorial practice,
tactical media, and philosophy, Murray reads a wide range of
creative performances and critical texts that envelop artistic and
digital materials in unstable, political relations of touch, body,
archive, exhibition, and technology. From video to net art and
interactive performance, he considers both canonical and unheralded
examples of activist technics that disturb the hegemony of
biopolitical/digital networks by staging the very touch of the
unsettling discourse erupting from within. In the process, critical
dialogues emerge between a wide range of artists and theorists,
from Hito Steyerl, Ricardo Dominguez, Joan Jonas, Isaac Julien,
Ryoji Ikeda, and Shadi Nazarian to Gilles Deleuze, Jean-Luc Nancy,
Elizabeth Povinelli, Jean-François Lyotard, Erin Manning, Achille
Mbembe, and Samuel Weber.
Brilliantly conceived and argued and eloquently written,
Technics Improvised points the way to how artistic and
theoretical practice can seize on the improvisational accidents of
technics to activate creativity, thought, and politics anew.
Events are always passing; to experience an event is to experience the passing. But how do we perceive an experience that encompasses the just-was and the is-about-to-be as much as what is actually ...present? InSemblance and Event, Brian Massumi, drawing on the work of William James, Alfred North Whitehead, Gilles Deleuze, and others, develops the concept of "semblance" as a way to approach this question. It is, he argues, a question of abstraction, not as the opposite of the concrete but as a dimension of it: "lived abstraction." A semblance is a lived abstraction. Massumi uses the category of the semblance to investigate practices of art that are relational and event-oriented -- variously known as interactive art, ephemeral art, performance art, art intervention -- which he refers to collectively as the "occurrent arts." Each art practice invents its own kinds of relational events of lived abstraction, to produce a signature species of semblance. The artwork's relational engagement, Massumi continues, gives it a political valence just as necessary and immediate as the aesthetic dimension.
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